Posts Tagged ‘Lame-O Records’

Ahead of their upcoming album Chosen Family, Thin Lips have released a second single, titled “Gaslight Anthem (The Song Not The Band)” featuring vocal contributions from Frances Quinlan of Hop Along, Brendan Lukens of Modern Baseball, and Zoe Reynolds of Kississippi. And if that lineup doesn’t get you excited to hear it, what will?

Jumping right in with their characteristic interlocking riffs, frontwoman Chrissy Tashjian’s vocals layer on top wonderfully, mixed to perfection with the slightest bit of distance, singing “here I thought I was right next to you”. The chorus is even more touching, with all the vocal cameos entering. In lieu of exchanging vocals or harmonizing, here it feels more like paints mixing, one voice blending into the other, and the solos featuring slide guitar add a greater depth to the song’s already rich texture.

Between this track and the previous single, “A Song For Those Who Miss You All The Time,” one can get a sense of the crunchy, catchy brand of indie-punk Thin Lips are bringing to their new album, dropping July 27th on Lame-O Records

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What was once a solo project for principal songwriter Matt Scottoline has evolved into the band Hurry, a power pop trio from Philadelphia, Pennsylvania composed of Scottoline, Rob DeCarolis (Univox), and JoeDeCarolis (Psychic Teens). The DeCarolises are cousins and they are both very talented

Hurry’s fourth album is packed front to back with breezy, beautiful songs that will please anyone who loves the classic, strummy power-pop of Teenage Fanclub, Tommy Keene and the Power Pop bands that we have recently featured. “Heatwave” sits in the center of the album and captures the band’s sweet ‘n’ sour sound. “Waiting For You” offers a subtle surf-rock vibe alongside main man Matt Scottoline’s lyrics about loneliness and screen addiction. “Read Between the Lines” is a tightly wound bundle of jangling guitars and reticence, while “On the Streets” is about as close as Hurry gets to punk pace.

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The songs on Every Little Thought can handle the spotlight. They share a bunch of great qualities: mostly clean-sounding rhythm guitars, aching vocal melodies featuring lots of extended notes, a persistent sense of melancholy. Hurry’s rhythm section—cousins Joe and Rob DeCarolis on bass and drums, respectively—is prominent and invaluable, providing Scottoline’s songs with a sturdy backbone and some extra momentum.

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Few bands can say they were born out of necessity, but Slaughter Beach, Dog can. In 2015, Jake Ewald, in the midst of trying to write songs for his other band Modern Baseball (which has since gone on hiatus), hit a patch of writer’s block. To get himself back in action, Ewald decided to move the focus off of himself, stitching together a loose narrative surrounding a motley cast of characters. Before he knew it, he’d written an entire album, and Slaughter Beach, Dog was no longer an exercise, it was a full-fledged band.

“When I gave myself the specific goal to write these kinds of songs and figure out how to do it, it just broke me open in a way I really needed.” What came pouring out of Ewald was “Welcome”, a 10-track debut that showed his ability to create a world of his own making, all the while blurring the line between fiction and reality. At times, he’d be singing about people and situations he invented, but the songs were still personal, often informed by experiences deep in his past, excavated for the purpose of expanding his songwriting vocabulary.

Slaughter Beach, Dog’s new album Birdie (Releases October 27th on Lame-O Records) expands upon the framework Ewald built on Welcome and the recent EP Motorcycle, retaining the hallmarks of Slaughter Beach, Dog while pushing into brave new territories A single listen to Birdie shows how much Ewald has grown as a songwriter, embellishing every detail in his songs without losing his homespun charms.

Where Welcome felt based in rock’s grand tradition, Birdie is at once more expansive and more intimate. Songs ebb and flow in the way of The Weakerthans, still rocking, but in a more scholarly way. “I took [Motorcycle .jpg] as an opportunity to get a little bit weirder than usual,” said Ewald, and it’s clear that the EP was a signpost for where he’d be taking Slaughter Beach, Dog on Birdie. “Gold And Green” sees Ewald skirt the lines between half a dozen genres, creating a song that’s able to mine vintage genres like folk and country in order to make something contemporary. Strumming an acoustic guitar, Ewald spins a narrative flush with details, boasting lyrics that are, depending on your reading, either wildly impressionistic and or plain as day.

Ewald plays into this ambiguity expertly, offering songs that use a lilting bounce to obscure the darkness of the world he’s building. “Fish Fry” is a prime example, utilizing a simple backbeat, a chugging guitar riff, and a ruminative vocal melody, the song allows Ewald to toss out references to his past work for those paying close attention. Much like on Motorcycle .jpg’s “Building The Ark,” Ewald once again finds himself dreaming of a convenience store, inviting fans to dig into his lyrics to unfurl every subplot running beneath his gooey melodies. Similarly, “Acolyte” closes the record but simultaneously opens a door, showing Ewald at his most introspectively ambitious. The song sprawls out, expanding slowly and deliberately, completing Birdie’s arch without providing any definitive answers.

Though Slaughter Beach, Dog may have started as a project for Ewald to get past a mental block, it’s grown into something more. Under this moniker Ewald has built a rich, vibrant world, one that invites thoughtful analysis from fans, and continues to expand past its initial intent. Birdie is bountiful in its scope, with songs that pile on layers of instruments and suck you into the world of Slaughter Beach, Dog. And once you’re there, you never want to leave.

“Acolyte” from the Slaughter Beach, Dog record ‘Birdie’, out 10/27 on Lame-O Records.

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Philadelphia’s Modern Baseball has been one of the most refreshing and lovable surprises . Split into two halves and led by members Jake Ewald and Brendan Lukens respectively, their former themes of punk scene politics, fancying girls, and feeling awkward to deal primarily with personal struggles with death and depression. What sets them apart even further is the close relationship they have with their fans, from writing openly about difficult topics to consciously striving to make their live shows safe and accessible. Their remarkable ability to write nothing but great songs is what draws people in, but it’s their lack of pretense, sense of humor, and consideration that holds them close.

Modern Baseball have evolved with every album, and this EP continues with that. They really are something special. Modern Baseball “clicked” for me a few weeks ago and now I’m hooked. This is a great step forward after the fantastic-ness that was “You’re Gonna Miss it All”.

Recorded, Mixed & Mastered in Philadelphia, PA
Produced by Modern Baseball

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As a staple of the Glasgow live music scene The Pooches are a band to cherish, even if they perhaps don’t cherish themselves as much as they should. This self-titled debut album is as charming as it is riddled with self doubt. ‘I’ll beGone’ is the perfect example of knowing your own qualities but not having the confidence to show them and by the time others realise it’s already too late. I can definitely relate. This record is absolutely bursting with indie-pop gems. Pure guitar pop crammed with melodies and all put together to sound uncomplicated and straightforward as the best pop music usually is. The album is often reminiscent of any number of 60s guitar bands and the sensitivity of the Vaselines. If you like nice things in your life get the The Pooches.

“The Light” off of The Pooches self titled debut LP out 9/9 on Lame-O Records

Well, I'm dyslexic so writing about something I love: Music, might help but it's most likely just full of mistakes. That title is also lyrics from The Drones song called I Don't Want To Change. Oh, my name is William and thanks for having a look.